Close Up (Jan-Jun 1928)

Record Details:

Title:
Close Up
Date:
Jan-Jun 1928
Publisher:
[London, etc., Pool]
Volume:
Close up ... devoted to the art of films
Leaf #:
00074
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Switzerland, Early Cinema, and Global Cinema
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
As an active film magazine, CLOSE UP lasted only a short time, from 1927 to 1933. Yet the legacy of this English-language periodical, which was published in Switzerland, continues to matter. Edited by Bryher and her husband Kenneth Macpherson, CLOSE UP became THE magazine for energetic debates about the nature of cinema and manifestos imagining new forms of filmmaking and spectatorship. The magazine published articles by filmmakers, such as Sergei Eisenstein, and female literary modernists, such as H.D. and Gertrude Stein. As film scholar Anne Friedberg explains in the anthology CLOSE-UP, 1927-1933: CINEMA & MODERNISM, 'CLOSE UP became the model for a certain type of writing about film -- writing that was theoretically astute, politically incisive, critical of films that were simply 'entertainment.' For six and a half years, CLOSE UP maintained a forum for a broad variety of ideas about the cinema; it never advocated a single direction of development, but rather posed alternatives to existing modes of production, consumption, and film style.' Like Friedberg's own writing, CLOSE UP continues to be essential reading for anyone interested in the history of film and media theory. -- Eric Hoyt, 2014
Date Added:
August 28, 2022
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CLOSE UP teraient plutot a Taction, et surtout a Taction des yeux : le redressement du menton, ou au contraire la tete baissee a fond et avec effort, sont ainsi disposees pour les besoins du regard. Quant aux inclinaisons de la tete sur le cote, une peu marquee signifie Tetonnement ; une plus accentuee signifie affectation d'etonnement, done ironie, et je suis un peu surpris de voir qu'aucun artiste de Tecran n'ait encore use d'un effet si net, et si frequemment rencontre dans la vie. L'extreme inclinaison sur le cote signifie une lassitude consciente d'elle meme, car cette attitude, (ou la tete s'abandonne autant que lorsqu'elle se laisse aller en avant ou en arriere), gene moins la respiration. Mais la plupart des abandons de la tete s'accompagnent dans la nature d'un appui sur la main, habituellement sur le cote — et alors, au cinema, le reglage des ombres est difficile — soit sur le menton et en avant — et alors cette mimique exprime plutot la suspension consciente de Taction que la lassitude reelle. De plus, dans ce genre d'attitude, e'est presque tou jours la main qui exprimera le plus. Vous savez que les signes de Tage sont particulierement visibles sur la peati du cou : e'est par la que Ton reconnait Tage des vieilles femmes bien conservees. Le trait essentiel en est la flaccite, facile a imiter par la distention momentanee d'un bain chaud, ou par un fard assez gras ; ma is ce dernier moyen ne conviendrait guere que pour un role de femme, et de femme riche : il y manquerait ce grain trop epais, ce hale inegal des hommes et des pauvresses ; le maquillage le plus naturel et le plus general serait sans doute un brun mat, et raye de traces plus claires a tous les plis naturels du cou ; mais Tim 58